Today's Day in Rock Stories

Rock Legend Tom Petty Confirmed Dead At 66

The band was in the middle of their hit cover of Eurythmics "Sweet Dreams (Are Made of This)" and Manson appeared to be shaking the metal bars on the stage prop when it fell on top of him. Manson's management has not confirmed the extent of his injuries but stated that the singer will be recovering at home in Los Angeles, according to Variety.

Manson was taken from the venue on a stretcher but is expected to resume his tour on October 15 in Grand Prairie, Texas. Manson's reps said the most significant injury affected his leg, but that the hard rocker would be "fine."

Joel's legendary MSG residency has drawn its share of special guests over the years. Hot on the heels of her Younger Now album release, Miley Cyrus stopped by Joel's Saturday night concert with another New York City icon, Paul Simon.

As current vocalist Papa Emeritus III closed the show with the encore of the 2013 track, "Monstrance Clock", the singer was forcibly removed from the stage by two security men as some fans screamed from the crowd.

The band's lineup of Nameless Ghouls then exited and, a moment later, the security personnel returned with a new figure that appeared as an elderly version of their former frontman, who walked slowly to center stage using a cane and an oxygen mask while wearing a white robe and headdress. "I am Papa Emeritus Zero," said the figure. "The party is over and now a new era begins. The Middle Ages begin now"

Ghost have introduced a new frontman on each of their albums: Papa Emeritus III led the group on 2015's "Meliora" and last year's "Popestar" EP; he replaced Papa Emeritus II after his work on their second record, 2013's "Infestissumam", while original vocalist Papa Emeritus introduced the band on the 2010 debut, "Opus Eponymous."

The Gothenburg show marked the final date of Ghost's 2017 "Popestar" tour, and the Swedish rockers are now preparing album number four for release next spring, according to Tobias Forge.

Directed by Dick Carruthers (Led Zeppelin, Rolling Stones, Aerosmith, Oasis), the project presents the last concert under the Sabbath brand by three-quarters of the original lineup - Ozzy Osbourne, Tony Iommi and Geezer Butler - in their hometown of Birmingham, England this past February.

The show at the city's Genting Arena marked the 81st and final date of the groundbreaking metal band's farewell tour, wrapping up a year-long global trek to wind down a legendary career that spanned five decades.

After disbanding in 1999, Pavement came back together in 2010 to tour before wrapping things up once more. Another reunion was floated by the band's members in 2015, but frontman Stephen Malkmus declined.

According to Nola.com, the band paused to welcome Army Major Steve Roberts to the stage to thank him for more than 30 years of military service. "It's always cool to love your country," frontman Paul Stanley told the festival crowd. "Some people believe that freedom is free."

The shows will also feature Breaking Benjamin and Bullet for My Valentine. Tickets go on sale to the general public on Friday, October 6 at 10:00 a.m. local time. More shows are expected to be added.

He also played some tracks from throughout his solo career as well as the album's single 'Spent the Day In Bed," and a cover of the Pretenders' 'Back on the Chain Gang."

Maverick reissue producer Bill Inglot recently discovered more Troubadour tapes in the archives. He and fellow reissue producer Pat Thomas uncovered five different sets of material from three days' worth of shows. These revelatory tracks have been assembled into a 2-LP package, Greetings From West Hollywood, and a 2-CD set, Venice Mating Call, both to be released October 13, 2017 on Manifesto Records.

The trio, which in addition to Simo includes Elad Shapiro on bass and Adam Abrashoff on drums, spent more than a month crafting the album, which was recorded in the band's home base of Nashville. Working in the studio from mid-afternoon until the wee hours of the morning, they succeeded in producing their most eclectic set of songs to date.

"If you go through my record collection and look at the more contemporary titles," JD explains, "you'll see the Roots, Wilco, Alabama Shakes, and Ryan Adams. I listen to a lot of old soul music, too. Isaac Hayes. Funkadelic. Bob Dylan. On Rise & Shine, I was just trying to cull from the vastness that is my normal music diet, and not trying to pander to some target that was easy to hit."

Wasteland came to be over many successive rehearsals, when Ned, Tim, Tom, and I were trying to cram together, I dunno, 12 different riffs, all hard-rock driven, and for the most part, all difficult to perform, physically. I remember a serious frustration throughout the rehearsal room; we'd settle on a form, play through it at different tempos, record it and play it back, scratch our heads, leave, and come back the next night feeling as though we'd made no progress, and chop it up and rewrite riffs, write new riffs and record a new scratch track, and repeat, or at least, that's how I remember it. It was stressful. We had impending recording dates, lots of personal life crap going on... it was just a mess of tension and disagreement. It wasn't until Darrell had had a chance to put his creative tweaks on it that I really felt like we were making something great, and I mean really great. The song reminds me of many moments in life in which we all have to, in full awareness of our own impending discomfort and a likelihood of failure, commit to slog through that muck and stress and sheer mental exhaustion, "return to the wasteland," if you will, because we all know that somewhere on the other side could be something really, really great.